The most remarkable point in Hawthorne's "Young Goodman Brown" is that a witches' sabbath is used as a very effective literary device. And an important clue to the ambiguities of meaning in the story lies in the fantastic peculiarities of the witches' sabbath. One main source of the witches' sabbath, according to F.N. Cherry, is an old witch's elucidation of witchcraft in "El Coloquio de los Perros" by Cervantes, and another main source is, as D. Levin indicates, what was called 'specter evidence' in the Salem witchcraft trials. In "El Coloquio de los Perros" La Canizares, the old witch, explains witchcraft as follows : 'There is the opinion that we do not go to these orgies except in imagination in which the Devil presents the images of all those things that we afterwards tell have happened to us. Others say, no, that in truth, we go in soul and body; and I believe that both opinions are right, since we do not know when we go in one form or another, for all that happens to us in our fantasy is so intensely felt that we cannot distinguish it from the times when we really and truly go.' Very obvious is the similarity between the characteristics of witchcraft described here and those of the witches' sabbath in "Young Goodman Brown." Hawthorne refers to Cervantes' opinion about witchcraft in The American Magazine of Useful and Entertaining Knowledge (July, 1836) edited by himself, and in a letter to his sister, Elizabeth, (March II, 1851) he urges her to work on the translation of the Tales of Cervantes. Hawthorne's conception of a witches' sabbath as a sort of nightmare uncertain and unforgettable is, doubtless, derived from "El Coloquio de los Perros." Moreover, this conception of Hawthorne's must have be consolidated by his knowledge of 'specter evidence' in the Salem witchcraft trials in which John Hathorne, his great-great-grandfather, was one of the notorious judges. 'Specter evidence' is an illusive testimony which identifies a specter or shape with a real person, originating in a popular superstition in those days that the devil can conjure up, at his will, the specters or shapes of the persons who have sold their souls to him. In fact, all the events and figures that Goodman Brown comes upon in the night forest scene of the story are depicted as Brown's 'spectral adventure,' as Levin points out, thoroughly through Brown's point of view. Thus, Hawthorne equates a witches' sabbath with a shadowy nightmare at once fantastic and sensual, and, taking notice of its symbolic function as a dream and its dramatic function as a ritual, he succeeds in making the best possible use of a witches' sabbath as a literary device. It is a symbolic drama of Goodman Brown's mind that Hawthorne presents vividly throughout the forest scene, utilizing these special qualities of a witches' sabbath. Goodman Brown is of an honest, pious family. He has learned his catechism from Goody Cloyse, a typical Puritan lady, and his spiritual guides are Deacon Gookin and the minister of the village church. However, three months after he has got married to an innocent girl, Faith, he comes to harbor an immoral sexual desire with the result that he is greatly afflicted with his internal conflict. The symbolic drama presented through the whole forest scene is the very manifestation of this conflict. The devil entices him to satisfy the immoral desire, while his conscience dictates him to check its realization. And then, the devil, in order to make Brown fulfill the desire without any guilty conscience, shows him the evil shapes of representative people of social morality one after another, trying to convince him that they are all hypocrites with the same dark desire and secret sin hidden within. If we apply Freudian theory about
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